BUYING an ACOUSTIC GUITAR (Musician - Jan 1990 Pg 79) Alan Di Perna
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BUYING AN ACOUSTIC GUITAR (Musician - Jan 1990 pg 79) Alan di Perna ----------------------------------------- Buying an acoustic guitar is a lot like choosing a spouse. Select wisely and you'll have a partner for life - one that will mellow and improve with age. It's a far cry from the "one-night-stand" mindset of high-tech purchasing, where you're out shopping for your next synth or stereo component before you've barely learned the name of the one you've got. This makes the job of choosing an acoustic all the more demanding. You may find a beauty. But how can you tell if it's built to last as long as you - through sickness and health, its tone growing richer rather than poorer down through the years? Well, the acoustic guitar market breaks down much like the marriage market. Up on top, say in the over-$l500 price range, you've got your centuries-old aristocratic families: Martin, Gibson, and (since the '50s, at least) Guild. It's pretty hard to go wrong if you buy into one of these clans. But are these the only top-quality guitars out there? By no means. Taylor guitars of California, for example, has been around since about 1975 and already has become a major contender in the high-end market. At lower price points you'll fInd manufacturers implementing many of the same ideas in more affordable ways. And doing a good job of it, for the most part. The acoustic guitar market has become intensely competitive in recent years. Manufacturing standards are high, both in the US and in Japan and Korea, where some 90 percent of the world's acoustic guitars are made today. This means there are plenty of respectable guitars in both the mid-price range ($500-$1500) and the affordable (under $500) zone . Whatever you've got to spend, you can take your choice from among a bevy of fine acoustics from companies like Yamaha, Ovation, Takamine, Washburn, Alvarez and others. What is it about a good acoustic guitar that gives it that unmistakable sonic depth and character? The wood, for one. The wood for fine guitars is cut from logs using a process called quarter-sawing, which yields the straightest wood grains. It's then kiln-dried and aged, sometimes for years, to help keep it from warping. And of all the wood on an acoustic guitar, the most important piece is the soundboard or top. (That's the piece with the big round hole, or small f-holes, in it) Often compared with a speaker cone, the soundboard is what resonates in direct response to the vibrating strings, producing much of the guitar's tone. The rest of the guitar body, sides and back is analogous to a speaker enclosure, then. They're important too, but since they're not in direct contact with the bridge and strings, they're not nearly as critical as the top. Although you'll find some tops made of cedar, pine and even Hawaiian koa, they're most commonly made out of spruce, an easily identifiable, light-colored wood. Sitka and Engelmann are generally regarded as the best varieties of spruce. As for the rest of the body, rosewood, maple and mahogany are all common, rosewood generally enjoying the highest status. A mahogany-like wood called nato is sometimes used as a more affordable substitute for mahogany. "Mahogany generally has a more mellow tone than the other common types of body wood," advises Guild plant manager William Fritscher. "If you want more of a treble tone, I would say go with maple or rosewood." But now we come to an important distinction. No matter what type of wood they're made of, better guitars use solid pieces of it for the top, back and sides. Less expensive guitars use laminated wood, i.e., plywood: many thin layers instead of one solid piece. It's why cheaper guitars tend to sound bright and brittle, while better guitars have a more evenly balanced tone. Often, only the outermost layer, or veneer, will be the "prestige wood"; spruce, rosewood or whatever. All the other plies may come from some less noble denizen of the forest. You can sometimes see if the soundboard of a guitar is solid or laminated by taking a sideways peek at it, through the soundhole, looking toward the neck or the bridge. You're now looking at a cross section of the soundboard. If the wood grain on the soundboard's top surface continues all the way down through the wood vertically, then you're looking at a solid piece of wood. If, on the other hand, you see a lot of horizontal layers running round and round the side surfaces of the soundhole, you're peering at plywood, mercy. Careful, though: The soundholes on some guitars are cleverly beveled to conceal the laminations. Spotting a laminated back or sides can be even tougher. But then, lamination isn't entirely evil. Laminated wood has the advantage of being stronger than solid wood (which is precisely why it's less responsive). Moral: Suit your purchase to your purpose. You may need ruggedness more than subtle tonal nuances. In short, don't be unduly intimidated by wood snobbery. Consider the case of Ovation acoustics. The company struck off in a whole new direction during the mid-'60s, constructing guitar bodies out of bowl-shaped pieces of space-age plastic called Lyrachord. The guitars sound swell and have become a perennial favorite, particularly with rockers. They may not have that much harmonic complexity but their more neutral, even tone makes them easier to mike up onstage. Then there's the case of the lute-style back and sides used on some mid-market Alvarez Yairis. A solid piece is sliced into three layers, the grain of the centerpiece is placed at a 45 degree angle to the grains of the other two pieces and the three of them are bonded together without using glue. "The process gives the back and sides a little faster response," says Alvarez product manager Tom Presley. "They're more reflective than solid mahogany backs and sides." Let's get back to the soundboard, though. Since it is so important, what should you be looking for when you check one out? When you're examining a flat-top acoustic, Yamaha guitar product manager Ken Dapron recommends that you make sure the top really is perfectly flat. "A common problem is that humidity factors, and/or stress on the bridge, will warp the top. If you see waves in the top, any kind of areas that are higher and lower, say within eight inches of the perimeter of the bridge, that's a sign that there's something wrong structurally. Any unevenness in the height of the wood should be taken as a warning sign." Chris Martin, head of Martin Guitars and scion of America's foremost luthier family, suggests that you examine the soundboard's wood grain when selecting a premium quality acoustic. "The top of a guitar should be straight-grained. If you look across it, the grain lines should run straight across the face." When looking at the sound board in "cross-section", through the soundhole (as described above), "the grains should run perfectly straight from top to bottom. The more perpendicular they are to the plane of the face, the better the guitar top. Those little grain lines are like steel I-beams. The straighter they are, the more uniformly the top is going to vibrate. You don't want a top where the grain is too tight, because that will inhibit vibration. But if the grain is too wide, it becomes a structural problem." Resonance vs. strength. That's also the question when it comes to bracing; the wooden beams inside the guitar that support the body, particularly the top. If they're too heavy they'll inhibit vibration and compromise the sound. If they're too light they won't do their job, which is to keep the top, back and sides from "pulling up" off the guitar due to string pressure or the wood's settling in. The most widely accepted solution to this bracing conundrum was invented by Chris Martin's great-great-great-grandfather C.R Martin, Sr. It's called X or cross bracing, since its main feature is two lengthy braces that run diagonally underneath the top, crossing right beneath the soundhole on the bridge side of the guitar. If you peer through the soundhole of a crossbraced guitar, looking in the direction of the bridge, you can usually spy a v-shaped joint on the underside of the sound board. That's one of the angles of the cross brace. Scalloped bracing is a refinement of cross bracing that involves shaving away portions of the wood braces, which makes them lighter, thus allowing the top to "vibrate more". Scalloped bracing is another one of those little amenities that start turning up after you pass the $500-$600 price point. While cross and scalloped bracing are in the overwhelming majority, you may also run into one of several types of fan bracing (including kasha bracing), in which several braces radiate, or "fan out," from a central point somewhere beneath the bridge. This type of bracing, sometimes found on expensive handmade guitars, often requires the luthier to carefully "tune" the top in tandem with the bracing. Again, things like scalloped and fan bracing can sometimes be detected by having a peek through the sound hole, or reaching your hand inside the body and feeling around.